Abina and the Important Men: A Graphic History

There are many contextual lenses through which to view Abina and the Important Men: A Graphic History, but because those involved with the novel extensively review historical and sociopolitical contexts, one lens that may be worth considering beyond these contexts is the genre itself. The decision to tell Abina’s story primarily through a graphic medium with alternative supplemental formats places the novel among the ranks of semi-autobiographical works like Art Spiegelman’s Maus, Marjane Satrapi’s Persepolis, and Gene Luen Yang’s American Born Chinese. This raises the question as to why the medium of graphic novel lends itself so well to telling stories that might otherwise go unheard.

Although there are clear differences between Abina and the Important Men and works like Maus, Persepolis, and American Born Chinese namely in length and subject matter, there is commonality in the elevation of marginalized stories and voices, paired with the accessibility and depth of meaning inherent in the genre. According to an article on this “unusual publication,” author Trevor R. Getz is quoted as saying, "If we really believe in the value of critical thinking, we have to change the way we teach history” (Bible, Elaine, “Graphic Novel Raises Questions About the Making of History.” San Francisco State University, 2011). The graphic novel acts as a transcendental force, overcoming the hurdles of language barriers and historical-sociocultural nuances through the use of imagery and translation. Using this medium to share profound stories allows readers to visualize experiences and connect to peoples outside of their sphere.

While some traditional novels, memoirs, and textbooks do attempt this feat (connecting readers to others’ experiences), graphic novels engage readers through a combination of imagery and text—even when readers lack a proper frame of reference. A visual medium offers the “same intimacy as diaries,” and since “[i]ssues of identity can be so emotionally fraught…it makes sense to talk about them using a visual medium” (Wang, Claire. “For Many Asian Americans, Graphic Novels Are a Way to Explore History, Fight Racism.” NBC News, 2021). Although this quote is specific to Asian American writers and the rise of the graphic novel as a medium for storytelling, this article reinforces the notion that the medium creates proximity, a way for marginalized groups as a whole to reach a broader audience—or as Gene Luen Yang, author of American Born Chinese, puts it, “The graphic novel is almost uniquely equipped for writers to explore the complexities of race” (Wang). It is a dynamic genre with many possibilities. The graphic novel defies conventions and empowers creators with freedom of structure, which is inherently experimental. The decision to portray Abina Mansah’s story in a visual format is calculated to illustrate her emotions and make her voice heard.